2018

Cliff Burtt, Larger Folding Map of the Universe (Counterpoint), Steel, 170 x 260 x 140 cm

(Image courtesy of Yering Station and photographer Kristian Laemmle-Ruff at Merring Studio)

ARTIST STATEMENT      Among the questions that refuse to go away are those concerning how we got here, and where things are headed. Maps are schematic devices, aids for both cognition and action. The folding map is a representation, of sorts, of correspondences between the micro and the macro, between the spiralling of subatomic particles and, at the other end of the scale, nebulae: aspects of our world until quite recently beyond our detection and even our imaginations.

Borges conjured a place where cartography had overlaid the land on a 1:1 scale, with only fragments of it remaining. Each generation picks through the tattered paradigms of an earlier time, saves some scraps, and traces out one or two of its own.

2017

Beatrice Magalotti, The Norns, Bronze, 28 x 42 x 29cm

(Image courtesy of the artist)

ARTIST STATEMENT      ‘The Norns’ –  the three sisters of destiny – Urd (the past), Verdandi (the present) and Skuld (the future). Each sister represents a different aspect of time.  A collection of three elements, ‘The Norns’ is one of the works from my five week residency at Wharf Road Studio in Stanley, Tasmania with my mentors Jon Eiseman, sculptor, and Anne Conron, printmaker and ceramicist. This challenging residency was a perfect way to obtain critical feedback and to produce a significant new body of work.

2016

Bridget Nicholson, Hold, Ceramic, steel, copper wire, local dirt, 340 x 480 x 120cm

(Image courtesy of Ewen Jarvis at Yering Station)

ARTIST STATEMENT      At the Red Chief Land Council there is a Kopi/mourning cap. This object was the inspiration for a project in Gunnedah NSW that bought together 187 indigenous and non-indigenous women. The process and outcome explores ideas pertaining to cultural practices, artefacts, mourning and change in communities.

2015

Alex Sanson, Murmuring, Carbon steel, stainless steel, bearings, ostrich feathers, pigment, 170 x 110cm

(Image courtesy of the artist and photographers Lorena Carrington and James McArdle)

ARTIST STATEMENT      Murmuring, to create or reflect on a murmuration, a movement of the one, a mass becoming a whole greater than its parts. Murmuring seeks the balance between independent and inter-dependent movement and the harmony that may lie there, and invites the viewer to create their own pattern, or their own chaos.

2014

Kate James, Held, Clay, plaster, glue, paint, fabric, metal, 140 x 63 x 22cm

(Image courtesy of Yering Station and photographer Mike Emmett)

ARTIST STATEMENT      To hold and be held. Precariously suspended by a length of fabric slung over a nail, a collection of misshapen clay and plaster vessels nestle snugly side by side. A sense of nurturing and protection is provided by this simple sling in which the fragile containers are themselves contained, held together by the taut cloth which compliantly stretches to accommodate their delicate forms.

2013

Louise Saxton (Represented by Gould Galleries Melbourne), Let the Jungle In, Reclaimed needlework, lacepins, nylon tulle & thread, copper wire, wool carpet, bamboo, birdcage, 150 x 50 cm + 75 x 45cm

(Image courtesy of Yering Station and photographers Mike Emmett and Bec Jones)

ARTIST STATEMENT      This work takes its title from Rudyard Kipling’s tale of the jungle’s revenge on civilization. Domestic needlework, which is disappearing, along with many plants and animals that inspired it, becomes a jungle. A human heart motif, extracted and freed from the bamboo birdcage, creates a cavity through which we can imagine “letting in the jungle”.

2012

Aly Aitken, Quisling, Sheep leather, timber, sticks, stuffing & found objects, 150 x 110 x 55cm

(Image courtesy of Yering Station and photographers Mike Emmett and Bec Jones)

ARTIST STATEMENT      The constructed monstres in this, my latest series of works, are physical manifestations of the psychological boltholes we build for ourselves, and the escape tunnels we use to reach them.

               They are hybrid fabrications of a subliminal world: a world assembled from the in-between, the twilight spaces, cobbled together with bits and pieces of reality. All are a mongrel mix of Art, Human, Animal and Other. These lost things are the native inhabitants of a landscape in limbo, herded out of the shadows, blinking and exposed.

               My travelling companions from Home to Land’s End.

2011

Anna-Maria Plescia, Anew, Calico, toothpicks, 152 x 50 x 25cm

(Image courtesy of the artist)

ARTIST STATEMENT      In my practice I use ordinary consumer goods, salvaged materials, multiples, repetition and pattern to create handcrafted objects and installations which explore the ambivalent overlapping between chance and control, containment and excess. My latest work Anew enquires into the commensal, symbiotic relationship between container and contained, their coexistence and growth.

2010

Dean Putting, Two Forms, Corten Steel, 142 x 195 x 150cm + 99 x 136.5 x 105cm

(Image courtesy of Yering Station and photographer Mike Emmett)

ARTIST STATEMENT      Initially conceived as a single figure, this work gained far more resonance when a second smaller form was introduced. Immediately, numerous potential relationships existed encompassing age, size, strength, experience, wisdom, learning, kinship, ability, companionship and security.

Observers, guided by their own experiences, may recognise many of these and more.

2009

Rachel MacBryde, The Emu’s Dream, Steel rod, wire mesh, emu feathers, 180 x 180 x 60cm

(Image courtesy of Yering Station and photographer Carla Cottgens)

ARTIST STATEMENT      Strap-on, flapping wings, gliders, aeroplanes, feathers fixed with wax: daydreams of flying forms engender an intimate subtext to the story of humankind. Images of bird-flight resonate in my imagination, filling me with a longing for something ultimately unattainable – release from the encumbrances of daily life. The emu is one of the largest birds in the world. Like us, however, it lacks the skeleton appropriate for flight and reconciles itself to life on the ground.

2008

Robert Delves, The Damned – Post Hieronymus Bosch, Wood, steel string, variable

(Image courtesy of Yering Station and photographer Murray Yann)

ARTIST STATEMENT The Damned is a fictitious work addressing the collapse of contemporary society and its lost hope. A burning hell-fire represents an earth in its final stages of decay. Monstrous, mutant figures wreak havoc across the land tempestuously murdering the last human survivors.

2007

Janusz Kuzbicki, 3 x 5 x 3, Steel and glass, 175 x 120 x 120cm

(Image courtesy of the artist)

ARTIST STATEMENT      3 x 5 x 3 is a sculptural inquiry into the elusive connection between music, mathematics and tectonic movement. An outcome of the meeting of intuition and calculation – the root of all arts and sciences – the work explores visual tensions between the contrastive materials of glass and steel. As a light-transmitting, super-cooled, liquid material of great density and durability, glass has long been indispensable in scientific equipment and communication devices. Conceived as an aesthetic experiment, 3 x 5 x 3 evokes a contemplation of optical and geometric marvels, of space exploration and of new platforms of visual vocabulary. Engaging with the science of art, while excavating the philosophy of science, an optical poetry rich in artistic metaphor emerges.

2006

Genevieve McLean, Silent Intervention, Mixed media, 3,000 x 3,000cm

(Image courtesy of the artist)

ARTIST STATEMENT

A small child peers from behind a tree

the face covered in a playful mask

does he play or hide?

Silent Intervention is an imaginative fabrication, a visual construct aimed at nudging the viewer toward dialogues, ideas and outcomes regarding our view of nature and man’s intervention with our precious environment.

2005

(Awaiting image)

Martin Hodge, Submarine, Fibreglass, fabric, steel, 600 x 60 x 50cm

ARTIST STATEMENT      Submarine uses the form of a surfacing machine to explore notions of technological disguise. Submarine likes water but sometimes wishes it was a rose.

2004

Genevieve McLean, Mop Top Fruit, Fabric, wadding, sealing wire, 25–30cm

(Image courtesy of the artist)

ARTIST STATEMENT      Mop Top Fruit: these gingham forms are a play on the way we sometimes view the balance and harmony of nature. Mop Top trees do not normally bear fruit, and as such the extremes of black and white accentuate the stark unreality of the fruit forms against the warmth of natural colours so beautifully balanced with nature.

2003

Greer Honeywill, Embrace, 2001, Kitchen graters, skewers, rubber rings, Variable (175 x 110 x 50cm approx.)

(Image courtesy of the artist)

2002

Ralf Driessen, Split in Tension, Glass, steel, 120 x 240 x 40cm

(Image courtesy of Yering Station)

ARTIST STATEMENT      My sculptures are contemporary in concept and appearance, yet very traditional in their sense of aesthetics and their execution, fusing what I like now with what has been appreciated for centuries in art. They are actually to be enjoyed.

2001

Glenn Murray, Mask, Metal, paint, 128 x 66 x 30cm

(Image courtesy of the artist)

ARTIST STATEMENT      This sculpture explores the mask as something that may represent aspects of deception and defence: a façade presented to the world, not always intact, suggesting manifestations of a split in perception. Its two dimensional aspects exaggerate the notion of a front and a behind.